Sebastiaan Bremer

Bremer’s technique is novel, and utterly hybrid. Using various inks, he draws directly on slightly blurry C-print enlargements of photographs, and often adds splotches and streaks of photographic dye. Almost always, the underlying photographic images have much to do with personal and family history: a best friend from Bremer’s teenage years, a shot of himself as a kid, a view of a room taken from under his grandmother’s piano, his family on vacation, a former girlfriend. These are the unpretentious snapshot images, the family album images, the photographic mementoes of a life that Bremer meticulously and obsessively draws on so meticulously, in fact, and with such fine, tiny lines that you figure he either uses a magnifying glass or is in a trance (neither is the case.).